This performance is realized with the financial and production assistance of the Foundation Kultura
Nova, Ministry of Culture of the Republic of Croatia, Zagreb City Council for Culture, Student Centre / Culture of Change, Alfredove divadle Prag and Croatian Institute for Movement and Dance.

The dialogue between the video artist Nives Sertić and the dancer and choreographer Sonja Pregrad began with the question: what is identity? This performance answers this question with another: what are the relationships that create an identity? This performance is a choreography for the film in which the performers are the breath and the touch, the image and the body, sound and time.

The artistic organisation Fourhanded / UO Četveroruka aims at opening new fields of communication within the theatre. We're producing theatre and dance pieces, workshops, performative conferences and more. The organization is run by a theatre director Marina Petković Liker and choreographer and performer Sonja Pregrad.

Les Racines du Ciel / The Roots of The Sky

STREET THEATRE DUET - AiO Company (New Zealand – Bulgaria)

Meet me between levity and gravity, between sound and silence, between inhale and exhale - at that point of suspension of reality - between languages, generations and gender. Meet me there, and we will see where the roots of the sky dip their wings into our innumerable souls. Enchanted objects will fly through webs of ancient song and a rare conversation, with both humor and emotion, will unfold between one woman's voice (Tui Mamaki - Aotearoa/New Zealand) and one man's movement (Dimitar Germanov - Bulgaria). The Roots of The Sky combines contemporary dance expression, juggling, crystal ball and poi with traditional and improvised song from around the globe, including South Pacific, India, Bulgaria, Middle-East, France, Chile
and more...

REVIEW ~ “Artists for whom there are no boundaries – physical or spiritual...exquisitely woven song, dance and juggling, impressive with the naturalness of improvisation... Tui’s singing is like breathing, like heartbeats. Dimitar’s movements are like a mantra of peace and goodness...the stage between them is incredible fusion and harmony... her voice impresses with outstanding clarity and emotion, and her performances of Bulgarian folk songs spring from the bottom of the soul.” (Asya Parpuleva) http://www.aspekti.info/bg/news/

Interno5/Collettivo NaDa

To Be Or Body

"That's it - I believe that over the course of time the experience of the Beautiful has always been the feeling that one has standing with our back to something which we are not and in no way want to be part of. It is in the distance that we find the thin line with separates the experience of beauty from other forms of passion."

(Umberto Eco, History of Beauty)

The project would like to probe the relationship between body and society, beginning with an analysis of the photographs of R. Mapplethorpe, in order to find a conception of "beautiful" which is a synonym of "real" (pursuit of purity) and not of ephemeral. This is research on action as a "perfect form" which sees the body as a non-ephemeral landscape which, in the fulfillment of its action, is understood in its essence. Individuals, with their bodies, tell stories and lives which model their movement and the actions which they carry out in their daily lives - a baggage of experiences, emotions, and relationships which inescapably shape their physicality. Thus we have a corporality which becomes synonym of beauty, no longer general (or better - generalist) but pertinent and specific to the individual, different from person to person just like a fingerprint.

But can such a form of beauty, if seen as a work of art, become in its way a Pop icon? The very same concept of beauty is subjective and as such susceptible to different interpretations and certainly its assimilation to a collective Pop unconscious aprioristically alters its meaning, relegating the body to a purely aesthetic interpretation, of postcard beauty, failing to restore the real and the realistic as well as its truthfulness.

Thus the concept of beauty becomes an idea which is central to research on communication of the real and the concrete in each of us, as such concepts are synonyms of a concrete and passional beauty which is anything but aesthetic and ephemeral.
direction /choreography/ lights Antonello Tudisco
dancer Gaetano Montecasino
Production Interno5

with the support of Italian Ministry of Culture artistic residence START/Naples (Italy) and DERIDA DANCE CENTER / Sofia (Bulgaria)

with the insertion of dancers selected trough the workshop “Looking for Someone”

Interno5 / Collettivo NaDa is a contemporary dance company based in Naples in Italy, supported by the Italian Ministry of Culture and by the Region Campania, led by the choreographer Antonello Tudisco.

DERIDA DANCE COMPANY

ZEN PLAY

"I had my mind blown by this fantastic dance piece. It's one of the most physical and emotional works I've seen this year."

- Gabriel Shanks, director of The Drama League of New York

"Truly an on the edge performance. From the super lighting, unbelievable music, deep intention of the performers to Jivko's continuous and well connected through line - the vision and performance was spectacular, just stunning!!"

- Lindsey Renee Derry, American choreographer and dancer

The performance Zen Play dallies with the well known conceptual pictures, unscrews the bolts and nuts of the established shapes. It meanders and dissolves the dividing lines of the consciousness - at the place where one idea finishes and another starts. The illusion of reality is totally real. The man is not a man and the woman is not a woman. The performance is for everybody who is not afraid of growing down.

AUTOBODIOGRAPHY

In "Autobodiography" we let the concept be formed in the process. A body is it's own universe, a microcosmos. Each life story is edged into the face of a person, is imprinted deep into the flesh of the body, the corporeal driving car for life. We let the traces of biography speak while the process of creating - the physical biography of the person that has led him or her to the present self - the automatically happening biography, the writing of biography through the moving author, the self, the „auto“. The strategy of the making emerged through the doing Letting the body act and react physically to its present environment, finding what already exists in the in the flesh of the author.

Inspired by Susan Rethorst's autobodygraphical writings “A Choreographic Mind” the piece focuses on the very present moment of personal desires: letting the constant input, the stimuli and desires, through the channels for potential output by acting and reacting in a certain "howness" and „whatness". In this immediate response to our internal and external environment a state of mind / body is emerging - the state of being present.

#LiFi

#LiFi project is talking about relation between real people and avatar which their are creating in cyber space. Almost every of us has account on social network sites like Facebook or Instagram. What we will try to explore is the position of real people with a challenge with a society which we are creating in cyber space. What different, what is similar. Is a real person factually real? Where is the barrier of been real, and being avatar. Can we talk separately about been real and been on cyber space? Where am I when I'm putting for example my photo on the cyber space.

Every community has their own culture, folklore, behaves. What with cyberspace society? Is it has their own culture? Are the avatars creating kind of the real society? What is the basic for this kind of community. This project is kind of exploration work. Laboratory. Our tasks are not to give the answers, but show the questions.We will try to not been critic, more exploring it, showing the results of our work and be on non judging site.

I started working on the project “Transformability “, tasking myself to transform the philosophical text of Boyan Manchev “TRANSFORMABILITY” 2006 into a practical, performable script. Working on the original text I try to reformulate it, using the strategy of creating a musical script. I choose the musical form, because of the topic of the text – the performing society of “global capitalism” – society pretending to step beyond the conventional role agencies. I am asking also how an elitist text such as “Transformability” can become a main element in creating one of the more market-orientated forms such a musical. How theoretical text can be danced, using its concrete texis How can I make a practical bridge between dance and theory using the rules of mainstream culture?

ANDREA HACKL

WILD HORSE RUN

is a new performance by Andrea Hackl

in collaboration with Ivan Shop

to be premiered at Body Graphics Festival on 27th of Sept 2016

COURAGE

[from Latin cor: "heart"]

- the ability to do something that frightens one; bravery.
- strength in the face of pain or grief.�
- the quality of mind or spirit that enables a person to face difficulty, pain; bravery
- mental or moral strength to venture, persevere, and withstand danger, fear, or difficult

CARMELO SEGURA COMPANHIA

OSAKA

Osaka is based on the legend of the Red Thread which tells us that within the labyrinth of encounters and shared stories there is a predesigned and perfect path,a scarlet string which connects us with our irrevocable destination. The relationship between two individuals, challenging space, place
and time. The red thread extends, it entangles, is knotted but never break, ensuring the meeting of these two people in a precise moment of their lives.

“Carmelo is choreographer´s of choreographer. Creating dance works which are not only creatively detailed and superbly crafted, but which exist within a broader theatrical vision”

- Rob Tannion, Artistic Director Circus Oz, Melbourne

“What a wonderful art choreography is when in the hands of the masterful Carmelo Segura”

- Ikky Maas, Artistic Director MPA, London

Carmelo Segura:

„When life suddenly presents us with challenging situations for which we are unprepared, we feel vulnerable and exposed. We look deep inside ourselves, searching for answers to express our innermost feelings, the ones we rarely share and are truly skin deep. These sentiments and emotions lie at the heart of this pieces. I am inspired to seek the infinite feelings which lie under the surface and explore our truthful reactions. I am an observer of everything that moves, unites or separates us: a constant people-watcher. My choreography veers towards delivering a contemporary dance piece of poetry in motion. Virtuosity, force, technique and
precision wrapped in a story full of sensitivity. All of this research and inspiration has led to my most recent works: Osaka.“

BULGARIAN PERFORMANCES

Iskra Prodanova

THE SPACE IN BETWEEN

„the space in between“ is produced by the choreographer Iskra Ivanova and Svetlozara Hristova, who is specialized in cultural studies. This collaborative project is based on improvisation and interaction with the audience. The starting point of a 3-month devising process was a series of discussions in terms of the set theme, concerning key contemporary philosophical discourses notions such as body /its corporeal aspects, space, encounter, „togetherness", "the other", and more. The concept of „the space
in between“ has been gradually developed freely by intuition, going from one phase to another. The textual elements in „the space in between“ are based on one hand on preliminary conducted experiments and researches within physical exercises, and on the other hand, on personal biographical fragments. The dance performance has extremely frugal scenography and seeks to focus the audience's attention on the performer`s body and its vast potential to translate signs from the reality and transform back the messages into itself... into its inner space. The piece is concerned with the exploration of the theme of communication with one another in the context of the contemporary consumer-based world. The research and artistic efforts are oriented toward reevaluation of body as an enigmatic world, as an intricate, supersensitive system getting involved in a spectrum of interactions with the outside world and other human beings. The performance aims to revisits through performing the presence of a body in the world. The music in the piece are the sounds of the symphonies of the planets which have been recorded in space by Voyager 1 and 2.

Iskra Prodanova & Svetlozara Hristova

Svetlozara Hristova (1987/29) graduated in Cultural Studies from Sofia University St. Kliment Ohridski in 2011. She worked as a probationer at Center for debate and culture The Red House in Sofia (2008-2009), as a manager in different projects in the field of education and contemporary literature in Paideia Foundation and Elizabeth Kostova Foundationin Sofia (2008). She was an art manager of the Organization for contemporary alternative art and culture Based On Actual Events. She has completed a one-year qualification course in drama theater acting in National Academy for Theater and Film Arts Krastyo Sarafov in Sofia. Her previous projects as a freelancer has been realized in collaboration with Dilyana Filipova (professional in cultural studies), where she has participated in the development of performances such as „A pack of wolves whispering love in the dark“ (2012) and „An Esquisse in Purple“ (2011), supported by Bulgarian national radio, Harmony Gallery (Varna), Expo Bath Roca (Sofia). In collaboration with actress Manuela Sarkissyan, she has been leader of T(h)ree wor(l)ds - site-specific dance workshop, part of project Give the Fire, organized by Art Kruh (SLO), Teatr Tańca Hakashanti (PL) and SIDEA Cultural Development Foundation (BG) and supported by Youth in Action Programme (June 2012). She was one of the tenth participants from Bulgaria in practical seminar Young Artists Linked In, The Hague, Netherlands, organized by Platform Spаrtak (NL) and А25 Cultural Foundation (BG) (May 2012).

Iskra Prodanova, dancer, performer, choreographer Iskra Prodanova (1988) was born in Varna where she graduated Choreography & dance pedagogy at Varna Free University. She improved her dance techniques through participation in various creative workshops led by some very well-known names in the field of contemporary dance and performance such as Doris Uhlich, Philippe Saire, David Zambrano, Nigel Charnock, Lezley Baker, Christian Bakalov, Galina Borisova, among others. Since her graduation, she works on her own projects and solo performances. She is also involved in various collaboratively-created dance projects which have been presented on some well-established or emerging festivals - Sofia Dance Week International festival of contemporary dance and performance, Ne Fest Festival of independent and experimental art, RADAR Festival Beyond Music, etc. Apart from that, Iskra loves to express herself and to experiment with different medias such as experimental films, video installations, photographic images.
She is very curious about the role of the audience in a live performance and in her work she researches different approaches to activate the position of the viewer.

Elisa Zuppini

might be dancing / manifested perception

We've been working in rethinking dance from the environment, in how movement cause movement and in how it feed itself in the re-generation. The bodies are platforms, protagonists of a manifestation of forces.

OTHER PARTICIPANTS:
Mami Kang, Imola Nagy, Alexey Scholnik

Stefani Handjiiska & Vladimir Gruev

Seriousity

"Seriousity" is a dance exploration of the degree of seriousness that we put into artwork, everyday activities and our own vision of ourselves. The piece challenges our perception of what is serious and how seriousness affects the final effect the artwork has on the audience. In the piece the two performers will pass through different stages of seriousness about their dancing.
We would like to explore the connection between the quality of the work and the amount of seriousness engaged into it.
The two creators of the piece Vladimir Gruev and Stephanie Handjiiska are dancers from different background and by so understand dance and stage on a totally different basis. Their dance collaboration challenges their mutual understanding of choreography and life.

Zjana Muraro

In Blue

"In Blue" is a solo performance addressing the relation between a body and technologies, light and flesh, artificial and natural. It examines the female dancing body’s encounters with visions, ghosts and shadows, building a hunting dialogue about societal „visibility" and "invisibility." The skin of the performer is covered in blue light and appears to disappear as the performer invites the blue light to be her dancing partner. This work attempts to not only be viewed but also to look back. It addresses: A body being seen and the difficulty of being seen in certain environments. The work asks: who is being seen or is having difficulty being seen and how both during the performance itself and ultimately in today’s global context? The dance is choreographed and performed by Bulgarian American artist Zjana Muraro, MA, Tisch School of the Arts, NYU 2015

Zjana Muraro is a Bulgarian-American independent artist and teacher splitting time between London, New York & Sofia. Resident artist in international art programs, she's been creating a series of dance works presented internationally over the last 3 years. Some U.S.A. performance credits include: The Hartford Ballet, Cleveland Repertory Project, Time Lapse Dance, performing with musical artists Shaggy and Sonic Youth, working with artist Scott Snnible and director Harmony Korine. Israel credits include performing the work of KCDC, Vertigo, and Roy Assaf. She was a choreographer in the Bessie Schonberg Composition Lab at Dance Theater Workshop (now New York Live Arts). Her choreography has been performed internationally and has been commissioned by the Lund Dance Theater, CalArts in California. Alongside dancing Zjana is a certified Ilan Lev Method practitioner, an RYT200hr Yoga Alliance certified teacher, and a Feldenkrais Awareness Through Movement® certified teacher. In 2015 she completed an MA from NYU, Tisch School of the Arts in New York.

Iskren Petkov

lu-lu, Spring Awakening

Solo-dance performance with author Iskren Petkov.
He represents an anonymous character by which different qualities of movement are make identity. That covert nature find a unified form of technique, helping embody the image of one anotherinanimate object (artefact) the head of a mannequin. The scene we meet Lulu, fully created. Image taken directly from the showcase of a boutique to our present nature and sensitivity. "Lulu" is presented to the audience in a dance concert of the "Etud Foundation" and " To be continued ... Antistatic", Mini art fest FO,Sofia Underground Preformance Art Festival 2014

Iskren Petrov is a Freelance artist based in Sofia. In 2010 he graduated from National Academy of Theatre and film Arts (NATFA) under Professor Jasen Valchanov. After his graduation he worked with artists such as Galina Borisova Christian Bakalov , Isabelle Schad and others. Then he was looking for his personal research in topics of seducing. He called his own work "selfish expression"through which he created his own work solo-dance "lu-lu (Spring Awakening)". In 2013 Iskren was participating in a scholarship program of the Dance Web "Impulstanz festival Vienna", whose mentor of the program for 2013 was Ivo Dimchev.